"Undermining my electoral viability since 2001."

Free Culture DC

Little bit of liveblogging from Free Culture Phase 2.

Started off with a presentation by Thenmozhi Soundararajan from Third World Majority talking about the concept of media justice and the right to communicate as a cornerstone of a movement towards a more just society, about the need to enlarge the scope to include people (farmworkers in Central America for instance) for whom a radio station is more relevant than a blog, about the need to bridge content and policy, the need for a larger "blueprint" which can tie these things together, but which need to be developed from the community level.

She also spoke briefly about the need for political activism to maintain its independence from the world of philanthropy, something that I've felt for a while. I added some of my usual gobbeldygook about the necessity of building positive visions to reach a wider audience and help prevent burnout, then a brief comment from a policy guy reminding us that "policy sets the rules" and then Downhillbattle.

Holms, Nicholas and Tiffany presented their upcoming Broadcast Machine internet TV project, speaking to the need to take aim at the mainstream, to level the cultural playing field. They spoke about the possibility of millions of people making a living as artists with the best quality rising to the top.

So then this hits me.

We need to be independent of philanthropists for activism, from corporations as artists. To make a living as artists and activists on our own terms, we must develop our own economies. The potential for these economies to develop is the real threat to the corporate establishment (such as it is). The first response is generally co-option. The second is policy, unless the situation moves too fast -- as in napster -- in which case legal action becomes the first recourse. As things move faster and faster, the more and more becomes the case.

True. Policy sets the rules, but the rules only maintain their force when people believe in them. The policy that's developing around IP in many ways violates the social contract because it is not about protecting sales, it's about protecting control (which links back to sales, but it's not a direct relationship).

There's an advantage inherant in independant culture and politics because it is less risk averse and therefore more likely to produce breakthroughs. At the moment the slow grind of everything is both stagnant and trending in bad directions, so I think we can agree that breakthroughs are needed. But we can't realistically expect the establishment to provide them.

At the same time I really feel Holms when he talks about setting our sites on being the new mainstream. Whether it's culture (indy/underground music in the top 40) or politics (reforming a major political party to break the current stalemate), the great potential of our time is to energize a generation to be different, to be ourselves, but not to do so by or through dropping out.

Up next is a more policy oriented talk.

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Capitol Observations

I'm in DC at the Free Culture Phase 2 conference in DC, meeting some friends again, and some internet heroes for the first time. It's an interesting mix, a good group. I haven't been in this part of the country in years. It's an interesting scene. Striking experiences seem to focus around cabs.

You might run into Zack Exley while you're bumbling into a taxi to head home from a strange and soulless bar on one of the hip strips outside the city. You might have an energetic driver from Trinidad with a sign on his dashboard that said "I AM COVERED WITH THE BLOOD OF JESUS" who's got big dreams of learning to fix computers and going back home to make it big. You might find yourself talking about hopping freight trains crammed in the back of a hired station wagon that's hauling nine people away into the night.

Now we're seated around in a great horseshoe

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1,346

Amanda of Pandagon has a blistering post on the "greatest generation" vs. today's warbloggers. Today's the 1,346th day since 9/11. It took 1,346 days since Pearl Harbor to declare victory in World War II. The critique is strong:

The Greatest Generation knew that a war effort this massive would require effort from everyone and with that end in mind, they intergrated women into the military for the first time with the WAC and while black Americans were still serving in segregated units, the contributions of both blacks and women during WWII set the stage for rebellions that came later and society progressed. The Cowardly Generation thinks the best way to win a war is to exclude gays and women from military duty as much as you can while rolling back social reforms at home.

The Greatest Generation rationed sugar, coffee, fabrics and mostly oil for the war effort. The Cowardly Generation decided that the best way to show support was to purchase massive SUVs that looked manly while increasing our dependence on the oil that got us into this shit to begin with.

This is something I've thought about a lot myself, as I still can't shake the sensation of biking down an empty 5th Avenue towards a massive column of smoke 1,346 days ago. I was a little afraid, yes, but mostly I was sick to my stomache because I knew that at full population there are 50,000 people in those towers and I figured most of them must be dead.

At the same time, as this was a meltdown of the status quo I felt a thrilling sense of possibility. I think I started singing "We Can Be Heroes." It seems a little inappropriate in hindsight, but the words were electrifying. Experience is a product of contrasts, and there's nothing like the towering visage of death taking over the city you call home to make you feel alive.

I think my greatest beef with Bush and his cohort is how they squandered that opportunity. That was a moment in which the United States could have taken an enormous step forward and taken most of the world with us, I think. That was a moment when our society was aching to come together as never before. People were giving blood because no one knew what the fuck else to do, and in that moment the President told us to keep shopping and keep praying. And then he started getting ready to scare us into an unnecessary and poorly planned war.

I don't know if that window of optimisim is closed or not. I don't want to believe it, but the depth of divisions and rancor in this country today are staggering. If a potential for real change swept in along with the grim reaper that clear tuesday morning, I fear it has been spent to take us to war and turn us against ourselves. 1,346 days. What a motherfucker.

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Vagabender

Note to all, movement has begun o'er at Vagabender dot com. Join the mailing list if you want to be informed when the next steps come to fruition.

...

In other news, I watched the 2nd neo-Star Wars movie with my sister tonight. I think I'm content to wait for Episode 3 on video. The truth is, in spite of the mythical status of the franchise -- and that's the word for Lucas's little empire: franchise -- "Attack of the Clones" simply wasn't a very well made film. The script had very little rhythm. None of the characters were really engaging or well-explicated; the acting was uniformly weak, even from quality talents like Ewan, Natelie and Samuel; and the special effects were cartoonish and mostly distracting (the 45-seconds of Yoda wielding a light saber being the notable exception).

A few bright moments were the inclusion of the Fett story, which was carried off nicely, and the intentional irony of seeing Yoda lead stormtroopers into battle. The grand "political" storyline clicked once or twice, but without quality acting and a consistant script it's hard to sell anything that depends on actors communicating information to the audience. The film was mildly entertaining, but nothing more.

I have little recourse but to conclude that George Lucas is not a good film-maker. His original films succeeded because of an engagingly epic story which managed and artful balance of character, action, and galaxy-spanning plotline. They were executed by actors who brought life to their roles and backed by revolutionary special effects which even today seem highly realistic. The current run, by contrast, feels like a B-grade videogame -- complete with clunky dialogue, poor narrative rhythm and off-target acting, all glossed over with an over abundance of flashy 3D graphics which are supposed to make up for the lack of substance.

Of course, Lucas will still make out fine. Production costs have already been recouped through product placement and merch deals, so ticked sales and three rounds of DVD release are all gravy. Keep on humping that dream, George. Maybe your next act should be another TV special.

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